Mamma Mia! (Queensland Musical Theatre)
Twelfth Night Theatre
November 5 – 14
Since opening in London in 1999, the jukebox musical “Mamma Mia!” has become a global phenomenon, with good reason. The ultimate feel-good show is the type that can be returned to again and again, such is the combined appeal of its score of ABBA hits and celebratory sentiment. Still, it is interesting to see how different companies but their own stamps on the show’s formula, and in this regard Queensland Musical Theatre’s production stands tall.
The wafer-thin plot is of a young woman’s search for her birth father. On the eve of her wedding, Sophie (Sophie Mason) tells the audience how her quest to discover the identity of her father has seen her invite three men from her free-spirited mother’s past back to the Greek island paradise they last visited 20 years ago…. on the eve of Sophie’s wedding to loyal and loving Sky (Christopher Morphett-Wheatley). Sophie assumes that she will feel an immediate connection to one of the men so that he can walk her down the aisle, however, things don’t go exactly to plan, especially as the men are reunited with Sophie’s single-mother Donna (Carole Williams). The result is a light-hearted musical comedy celebration of love, laughter and friendship.
What makes the musical so joyful is the brilliance of ABBA’s strong story-led lyrics which weaves the songs into the storyline. Even from the opening overture montage of instrumental versions of ABBA’s hits, there is a display of excellence. Under Julie Whiting’s musical direction, the score still unfolds with some interesting touches to make it the company’s own, such as a synthy sounding ‘Honey Honey’, in which Sophie discovers her mother’s old diary, complete with intimate description of her dates with the three men, and the Greek musical characteristics that appear woven within the instrumentation of Act Two’s closer, ‘I Have a Dream’.
Bec Swain’s choreography transitions the musical numbers along with effortless efficiency, such as when Donna’s best friends, and former Donna and the Dynamos girl group, Tanya (Lisa Alsop) and Rosie (Fiona Buchanan) move us from their attempt to cheer her up with ‘Chiquitita’ to effort to convince her that she can still be the ‘Dancing Queen’ she once was in a full-scale ensemble number. The title track is similarly, smoothly punctuated by pop-up appearances of a Greek chorus of sorts and the stylised, out-of-place Act Two opener ‘Under Attack’, which sees Sophie having a nightmare, involving her three possible fathers all fighting for the right to walk her down the aisle, is up there with its best realisations. Similarly, the flipper boys of ‘Lay All Your Love on Me, elicit the most amplified audience reaction, thanks mostly to Darcy Rhodes, whose elevated performance of Sky’s goofy bartender best man Pepper steals every scene. And when he attempts to woo the much-older, thrice divorced Tanya in a fun and flirty ‘Does Your Mother Know’, his acrobatic animation makes for a standout number.
As with previous Queensland Musical Theatre shows, “Mamma Mia” consists of a large ensemble, all of whom project an infectious energy throughout. The lead and supporting roles are perfectly cast, with some obvious standouts. Buchanan is simply wonderful as the wisecracking, clumsy and fun Rosie. She dominates in her comic role, especially during Rosie’s wedding day proposition of Bill (David McLaughlin) in ‘Take a Chance on Me’’. Together, Buchanan and McLaughlin represent another highlight, given their genuine chemistry, her physical comedy and his animated facial expressions, which tell us so much more than his dialogue alone ever could.
Jordan Ross as Sam and Peter Bothams as ‘Headbanger’ Harry, McLaughlin delivers strong Act Two musical numbers in ‘Knowing Me, Knowing You’ and ‘Our Last Summer’ and Williams, Alsop and Buchanan harmonise together beautifully as Donna and Dynamos. Mason has a lovely singing voice that provides some touching moments to young and optimistic bride-to-be Sophie’s journey. And in the role made famous by Meryl Streep in the movie adaptation, Williams layers strong-willed single mother Donna with some fragility in her ‘The Winner Takes It All’ admission to Sam that he broke her heart.
While opening night sees some microphone issues and a whole lot of unnecessary theatre haze, the vitality, entertainment and engagement of this “Mamma Mia!” is undeniable. Its celebration of ABBA’s 70’s music by a cast of talented performers, creates a joyously energetic experience, which is only amplified by its now-traditional finale medley of ABBA hits and accompanying audience rise to their feet to sing and dance having the time of their lives, ‘Dancing Queen’ style.
Photo c/o – CF Photography Families